BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:29878@offbeat.amsterdam SUMMARY:🎬 Windows\, Beautifully Rendered – Machinima DTSTAMP:20261101T212547Z DTSTART:20261108T193000Z DESCRIPTION:What if movies shot in digital worlds tell us more about our wo rld and how we\nconceive it than the reality surrounding us? What we see o n screen in this\nprogram was never in front of a camera. These images wer e born digital: built\,\nsimulated and rendered by a computer. This evenin g is all about machinima\, films\nmade inside video games\, and the works we’re showing use game worlds to look at\nthe world\, and at what it takes to make one look real.\n\nHarun Farocki’s Parallel I-III examines how gam e worlds are constructed\, while\nTotal Refusal’s How to Disappear and Har dly Working wander through game\nenvironments\, looking at what usually go es unnoticed and turning it into a\ncritique of our society.\n\nThis is th e first evening in a series of screenings on digital born images\,\norgani zed in collaboration with the Institute of Network Cultures\n[https://netw orkcultures.org/]. Next up: desktop cinema.\n\n \n\nParallel I\nHarun Faro cki | 2012 | 16’ | EN subtitles\n\nParallel I opens up a history of styles in computer graphics. The first games of\nthe 1980s consisted of only hor izontal and vertical lines. This abstraction was\nseen as a failing\, and today representations are oriented towards photo-realism.\n\n \n\nParallel II and Parallel III\nHarun Farocki | 2014 | 16’ | EN subtitles\n\nParalle l II and Parallel III seek out the boundaries of the game worlds and the\n nature of the objects. It emerges that many game worlds take the form of d iscs\nfloating in the universe – reminiscent of pre-Hellenistic conception s of the\nworld. The worlds have an apron and a backdrop\, like theatre st ages\, and the\nthings in these games have no real existence. Each of thei r properties must be\nseparately constructed and assigned to them.\n\n \n\ nHow to Disappear Working\nTotal Refusal | 2020 | 21’ | EN subtitles\n\nHo w to Disappear is an anti-war movie in the true sense of the word\, search ing\nfor possibilities for peace in the most unlikely place of an online w ar game.\nIt’s a tribute to disobedience and desertion – in both digital a nd physical-real\nwarfare. Shot in the picturesque war landscapes of Battl efield V\, the hyperreal\ngraphics become the backdrop for an essay-like n arrative. The film revolves\naround the history of deserters – a part of h uman history\, which has hardly been\nilluminated. Performances and creati ve interventions explore the scopes and\nlimits of the audiovisual enterta inment machine.\n\n \n\nHardly Working\nTotal Refusal | 2022 | 20’ | EN su btitles \n\nHardly Working gives priority to characters that normally fade into the\nbackground of video games: NPCs. NPCs are non-playable characte rs that populate\nhyper real worlds to create the appearance of normality. Usually these digital\nextras play no major role in the story of the game . Here a laundress\, a\nstableman\, a street sweeper\, and a handyman are the four main characters of this\nfilm. With ethnographic precision\, the film observes their daily work: a rhythm\ncomposed of loops that makes the m work daily and tirelessly. Their work neither\nresults in a product\, no r does it change anything about their status quo. In\nlight of Hannah Aren dt description of ‘animal laborans’ – in contrast to the\nacting subject – \, the NPCs as individuum are an exaggeration as their work\nperformance a ctually manifests their status.\n\nHere\, work becomes a pure performance\ , carried out for its own sake. NPCs\nperform so-called surrogate actions that generate no social benefit. These\nactions are performed and enforced for the sake of appearances to ensure a\nsocial order.\n\nNPCs are digita l Sisyphus machines that have no perspective of breaking out of\ntheir act ivity loops. In the moments when the algorithm of their existence shows\ni nconsistencies\, the NPCs break out of the logic of total normality\, disp lay\ntheir own faultiness\, and appear touchingly human.\n  URL:https://offbeat.amsterdam/event/windows-beautifully-rendered-machinima GEO:52.381974;4.8703107 LOCATION:Filmhuis Cavia - Van Hallstraat 52-1\, 1051 HH Amsterdam STATUS:CONFIRMED CATEGORIES:digital art,film,in english,technology X-ALT-DESC;FMTTYPE=text/html:

What if movies shot in digital worlds tell us more about our world and how we conceive it than the reality surroundin g us? What we see on screen in this program was never in front of a camera . These images were born digital: built, simulated and rendered by a compu ter. This evening is all about machinima, films made inside video games, a nd the works we’re showing use game worlds to look at the world, and at wh at it takes to make one look real.

Harun Farocki’s Parallel I-I II examines how game worlds are constructed, while Total Refusal’s How to Disappear and Hardly Working wander through game en vironments, looking at what usually goes unnoticed and turning it into a c ritique of our society.

This is the first evening in a series of sc reenings on digital born images, organized in collaboration with the Institute of Network Cul tures. Next up: desktop cinema.

 


Parall el I
Harun Farocki | 2012 | 16’ | EN subtitles


P arallel I opens up a history of styles in computer graphics. The firs t games of the 1980s consisted of only horizontal and vertical lines. This abstraction was seen as a failing, and today representations are oriented towards photo-realism.


 


Parallel II and Parallel III
Harun Farocki | 2014 | 16’ | EN subtitles


Parallel II and Parallel III seek out the boundaries of the game worlds and the nature of the objects. It emerges that many ga me worlds take the form of discs floating in the universe – reminiscent of pre-Hellenistic conceptions of the world. The worlds have an apron and a backdrop, like theatre stages, and the things in these games have no real existence. Each of their properties must be separately constructed and ass igned to them.


 


How to Disappear Working
Total Refusal | 2020 | 21’ | EN subtitles


How t o Disappear is an anti-war movie in the true sense of the word, searc hing for possibilities for peace in the most unlikely place of an online w ar game. It’s a tribute to disobedience and desertion – in both digital an d physical-real warfare. Shot in the picturesque war landscapes of Bat tlefield V, the hyperreal graphics become the backdrop for an essay-l ike narrative. The film revolves around the history of deserters – a part of human history, which has hardly been illuminated. Performances and crea tive interventions explore the scopes and limits of the audiovisual entert ainment machine.


 


Hardly Working
Total Refusal | 2022 | 20’ | EN subtitles 


Hardly Working gives priority to characters that normally fade into the back ground of video games: NPCs. NPCs are non-playable characters that populat e hyper real worlds to create the appearance of normality. Usually these d igital extras play no major role in the story of the game. Here a laundres s, a stableman, a street sweeper, and a handyman are the four main charact ers of this film. With ethnographic precision, the film observes their dai ly work: a rhythm composed of loops that makes them work daily and tireles sly. Their work neither results in a product, nor does it change anything about their status quo. In light of Hannah Arendt description of ‘animal l aborans’ – in contrast to the acting subject –, the NPCs as individuum are an exaggeration as their work performance actually manifests their status .


Here, work becomes a pure performance, carried out for its own sake. NPCs perform so-called surrogate actions that generate no social be nefit. These actions are performed and enforced for the sake of appearance s to ensure a social order.


NPCs are digital Sisyphus machines t hat have no perspective of breaking out of their activity loops. In the mo ments when the algorithm of their existence shows inconsistencies, the NPC s break out of the logic of total normality, display their own faultiness, and appear touchingly human.
 

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